In the second section of the book,

Marilia P. Futre Pinheiro, Stephen J. Harrison, seashell braid Fictional Traces (edd.): Receptions of the Ancient Novel. Volume 1. Ancient Narrative Supplementum 14.1. Groningen University Library Barkhuis Publishing, 2011. Pp xxii, 254. ISBN 9789077922972. 65.00..
Marilia P. Futre Pinheiro, Stephen J. Harrison, Fictional Traces (edd.): Receptions of the Ancient Novel. Volume 2. Ancient Narrative Supplementum 14. 2. Groningen. Barkhuis University Library Publishing, 2011. Pp xxi, 211. ISBN 9789077922989. 65.00. Reviewed by Helen Frangoulis, University of Toulouse II-Le Mirail (helene.frangoulis@univ-tlse2.fr) Version seashell braid at BMCR home site [The Table of contents is at the end of the review.]
The two volumes of this work is the publication of ICAN IV Acts (4 th International Conference of the Ancient Novel) conference held in Lisbon from 21 to 26 July 2008, during which many contributions have been devoted to receiving the old novel.
The first volume is divided into three sections, which follow a chronological order. In the first, entitled "Receptions in the Ancient and Medieval Worlds" Michael Von Albrecht analyzes the possible intertextual links between Ovid and Latin novelists (Petronius and Apuleius), while remaining just as cautious in his conclusions. Christopher Nappa then studied the influence that Encolpius-Agamemnon debate in early Satyricon of Petronius, had on the First Satire seashell braid of Juvenal. The last four articles discuss the Byzantine period and the Middle Ages, Michael W. Herren dealing seashell braid with a work of the VIII century. The Cosmography of Aethicus Ister, Alicia Walker of the presence of romantic themes in the production artistisque XII century, Willem J. Aerts a passage of a Byzantine version seashell braid of the Alexander Romance Bianchi Nunzio and the testimony of Gregory Pardos (1070-1156) on Ephesian Tale of Xenophon of Ephesus.
In the second section of the book, "Renaissance and Early Modern Receptions" Carl Springer PE suggests that, in his preface, Martin Luther interprets some details of the Vita Aesopi depending on the circumstances of his own life. Heinz Hofmann analysis adapted into Latin hexameters of Daphnis and Chloe, the Exposure, composed in the sixteenth century by Lorenzo di Brescia Gambara: compare the book with that of Longus, showing how the author adds his own poem by making this epic version seashell braid of Daphnis and Chloe real literary work that has its place in the reception of the novel by Longus. Then, in an article for the less surprising, Elizabeth B. Bearden interprets the first narrator seashell braid of Achilles Tatius as novel disguised as a man Melite: she founded particular assumption on the fact that in the first Achilles Tatius imitator to Renaissance, Alonso Nunez de Reinoso, the narrator of Clareo seashell braid there is Florisea Isea, a character who is precisely the figure of Melite. Michael Paschalis seashell braid then attempts to show that Tasso did not consider Éthiopiques as an epic. Carlos seashell braid Garcia Gual emphasizes the influence seashell braid that the Spanish translations in the sixteenth century from the Golden Ass of Apuleius and Éthiopiques Heliodorus had on the picaresque novels and baroque mixing love and travel. Finally, Roderick seashell braid Beaton seashell braid analysis Tom Jones (1749), one of the founding texts of modern English novel, as a rewrite of the old novel, and particularly that of Achilles Tatius, Leucippe and Clitophon.
The third section, entitled "Modern Outlook", contains two articles on contemporary reception of the ancient novel. Bo Svensson S. compares the narrative technique of Éthiopiques with the Swedish seashell braid novelist Sigrid Combüchen, author of Parsifal (1998), based on two passages of similar length and similar situation (captured women and killed by soldiers). The contribution of Akihiko Watanabe finished the first volume, presenting the reception of Greek and Latin novels in translations, adaptations, seashell braid and debates in Japan between 1880 and 1954.
The second volume is divided into four sections, devoted to the reception of the novel in the ancient literature and art and grouped in a thematic sense. In the first, "The reception of the Ancient Novel in the Visual Tradition," seashell braid Hugh J. Mason shows that in the seventeenth seashell braid century, the table Bloemaert Theagenes and Chariclea seashell braid inspired seashell braid by Éthiopiques 4, 4, commemorates the marriage Prince Frederick Hendrik seashell braid of Orange and his wife Amalia, illustrating the completion of a royal wedding that manages to be realized despite many difficulties. Then Faustina CW-Doufikar Aerts examines how the biblical pattern of Suzanne, the virtuous woman, found in many literary or artistic works inspired by the biblical seashell braid story is also found